Coco

COCO
2017 | Dir. Lee Unkrich | 109 Minutes

"Remember me, though I have to say goodbye. Remember me, don't let it make you cry. For even if I'm far away, I hold you in my heart. I sing a secret song to you each night we are apart."

A young boy named Miguel dreams of becoming a musician despite his family's strong objections. On Día de Muertos, Miguel finds himself in the Land of the Dead and one of his ancestors must give him their blessing before sunrise in order for Miguel to return home. However, his great-great-grandmother's long-standing detestation of music poses a significant obstacle for Miguel, unwilling to bless him unless he gives up his dream. On the run with the help of a desperate soul named Hector, Miguel races against time in search of his long lost great-great-grandfather who generations ago abandoned his family to be a famous musician.

Initially inspired by Día de Muertos folk art, director Lee Unkrich, assisted by a full team of cultural consultants, strived to authentically present Mexican traditions in Coco. The resulting film is brimming with excellent music, dazzling visuals, and concepts rooted in traditional Mexican beliefs presented in truly clever ways. Above all, a strong emotional through-line about the importance of family and remembrance runs through the picture.

Visually, Coco is simply mesmerizing, marking another high watermark in Pixar's extensive history of technical achievements. Stand-out set pieces include the bridge between worlds made of flower petals leading to the massive vibrant city of the Land of the Dead, the elaborate party atop Ernesto de la Cruz's tower, and the stadium concert setting for the film's finale. Absolutely every facet of the film is thoughtfully designed and well-rendered from the eye-catching neon alebrije spirit animals to subtle touches such as Miguel's increasingly translucent skin, marking the progression of his curse, slowly transforming him into a skeleton.

Young Anthony Gonzalez carries the emotional core of the film with humor and genuine energy, natural in his portrayal of the Miguel's headstrong and vulnerable qualities. With expert comedic timing, Gael García Bernal is loveable as the roguish Hector, sharing great chemistry with Anthony Gonzalez's Miguel. Playing Miguel's stubborn and strong-willed great-great-grandmother Mamá Imelda, Alanna Ubach delivers a spirited performance. As music legend Ernesto de la Cruz, Benjamin Bratt is a perfect fit, believably charismatic and charming, and smoothly taking a sinister turn into the film's final act. Natalia Cordova-Buckley is a hilarious scene-stealer, providing the voice for legendary Mexican painter Frida Kahlo, appearing briefly in the film as a vital supporting character.

Coco is a unique and uplifting experience. At its center, the picture examines the compromises a person may make to chase their dreams at the risk of forgetting the importance of family, a deep concept wrapped in an artful and authentic presentation of Mexican culture. Ultimately, Coco is among Pixar's greatest achievements, delivering what the groundbreaking animation studio does best: an emotionally moving cinematic experience with jaw-dropping visuals and plenty of heart.


JOHN RATZENBERGER AS...
- Juan Ortodoncia


A113
- Miguel and his ancestors visit a Bureau of Family Grievances Corrections Officer voiced by comedian Cheech Marin in office A113


PIXAR INTERCONNECTIVITY
- A Pizza Planet delivery truck drives by Miguel's window at the start of the film

- In the Santa Cecilia marketplace, Marlin, Dory, Nemo, and Destiny from Finding Nemo and Finding Dory, and Remy from Ratatouille appear as alebrije figurines, as well as stuffed dolls of Woody and Buzz Lightyear from Toy Story

- A figurine of Nemo from Finding Nemo sits on the ofrenda in Miguel's home

- A poster for The Incredibles (in skeletal form) appears in the Land of the Dead


FRAGMENTS
- Coco was released in Mexico on October 27, 2017 (nearly four full weeks before the film was released in North America), and became the highest-grossing movie in Mexican box office history

- Currently, select theaters in the US are screening the Spanish-language version of the picture


SUPPLEMENTAL STUFF
- Video: Dante's Lunch - A Short Tail


MCU CONNECTIONS
- Benjamin Bratt (Jonathan Pangborn in Doctor Strange)

Thor: Ragnarok

THOR: RAGNAROK
2017 | Dir. Taika Waititi | 130 Minutes

"I run towards my problems, not away from them, because that's what heroes do."

While fighting to prevent his prophetic visions of Asgard's destruction from coming to fruition, Thor is stranded on a hostile alien planet after a deadly encounter with Hela the unstoppable Goddess of Death. The displaced prince is unexpectedly forced to battle a "friend from work" for the entertainment of a madman. Meanwhile, Hela terrorizes the citizens of Asgard and sets her sights on conquering the cosmos. Thor quickly assembles an unlikely team consisting of allies new and old to return to Asgard, save his people, and defeat the evil goddess.

Influenced by the aesthetics of 70's and 80's sci-fi fantasy films, New Zealand comedy director Taika Waititi imbues the Thor's third cinematic solo adventure with colorful Jack Kirby-esque production design and a great abundance of comedy. Between its brilliantly choreographed kinetic action sequences is a non-stop barrage of clever visual gags and hilarious dialogue - eighty percent of which was allegedly ad-libbed. The feature's funniest jokes chiefly feature unexpected callbacks to The Avengers, Thor: The Dark World, and Avengers: Age of Ultron. Thor: Ragnarok even manages tells a more affecting emotional story than the second film of the series, showing how much Thor has grown in wisdom and selflessness as a hero and a ruler through his clever and valiant actions.

The picture showcases some of the best set pieces of the Marvel Cinematic Universe to date, from the opening skirmish pitting Thor against the flaming demon Surtur and his minions - in which the virtual camera follows Mjolnir as it leaves Thor's hand smashing through enemies - to the lightning-charged climactic battle between the "Revengers" and Hela's undead legion (both sequences rousingly featuring Led Zeppelin's "Immigrant Song"). The gladiatorial match between Thor and the Hulk encapsulates the best qualities of Marvel Studios productions: inspired action, natural comedy and, above all, excellent character-driven storytelling made possible through years of commitment to continuity.

In his fifth appearance as the titular God of Thunder, Chris Hemsworth has never been funnier as Waititi's direction fully utilizes his impeccable comedic timing. As Thor's reluctant counterpart in this unconventional buddy comedy, Mark Ruffalo explores new facets of his recurring dual role playing the Hulk and Bruce Banner, alternating between the abrasively blunt green giant and the hapless scientist hilariously in-over-his-head.  Though Tom Hiddleston doesn't bring much new to table reprising the role of the trickster Loki. As always, Hiddleston's best scenes are shared with Hemsworth's Thor, their chemistry as potent as ever. Idris Elba returns as the all-seeing Heimdall once again, finally a featured player in several action sequences. Reprising the role of Odin, Anthony Hopkins' brief appearance is more subdued than somber, though he appears to be genuinely enjoying himself as the Loki-disguised Odin early in the narrative. The film also features brief appearances from Marvel Studios regulars Ray Stevenson, Zachary Levi, Tadanobu Asano, and Benedict Cumberbatch reprising their respective roles as Volstagg, Fandral, Hogun, and Stephen Strange.

Taking complete ownership of the picture whenever she appears on screen, Cate Blanchett's delightfully sinister performance elevates Hela to the very top tier of Marvel Cinematic Universe villains. Tessa Thompson is believably fierce and fair as a drunken wayward Valkyrie. Jeff Goldblum is amusingly weird as the Grandmaster. The cast also features character actor Karl Urban as dimwitted the Asgardian Skurge with a serviceable character arc, frequent Waititi collaborator Rachel House as the Grandmaster's wary enforcer Topaz, Clancy Brown lends his voice to Surtur, and Waititi also offers his voice to the astoundingly soft-spoken stone gladiator Korg.

Packed with charm, humor, and spectacle, Thor: Ragnarok is undisputedly the best film of the Thor series. With radiant panache, the picture decisively sheds elements of the series that have become extraneous while paving the way towards an exciting new direction. Waititi's established comedic talent serves the production well, taking the cosmic and innately humorous qualities of the Marvel Studios' massive shared universe, and Thor's heroic journey, to new heights.


MID-CREDITS STINGER
Heading towards Earth on their spaceship, Thor reassures Loki that things will work out fine as they enter the shadow of a massive warship.


POST-CREDITS STINGER
On Sakaar, The Grandmaster stumbles off his craft and congratulates his former slaves for mounting a successful rebellion and ultimately declaring it a "tie."


STAN LEE CAMEO
Dir. James Gunn
Stan the Man appears as a barber who uses a frighteningly elaborate contraption to cut Thor's hair.


FRAGMENTS
- In Japan, the title for this film is Mighty Thor: Battle Royale

- Hela is based on the Norse goddess Hel, a daughter of Loki and queen of the realm also known as Hel

- Elements of the film's narrative are based on the Marvel Comics "Planet Hulk" storyline

- Musical cues from Patrick Doyle's score for Thor, Brian Tyler's scores for Thor: The Dark World and Avengers: Age of Ultron are featured in key emotional and comedic moments throughout the film

- Chris Hemsworth's brother Luke Hemsworth, Matt Damon, and Sam Neill play Asgardian actors respectively portraying Thor, Loki, and Odin dramatizing a key scene from Thor: The Dark World for great comedic effect

- Hilariously, Thor's psychedelic introduction to the Grandmaster visually and musically references Mel Stuart's family classic Willy Wonka & the Chocolate Factory

- Hela reveals that the Infinity Gauntlet in Odin's weapons vault as seen in Thor is a fake

- This is the first Marvel Studios film in which Lou Ferrigno does not provide the voice for the Hulk as Mark Ruffalo performed the Hulk's dialogue, indicating that the Hulk's intelligence is increasing

- A subtle variation of The Lonely Man theme from the Incredible Hulk television series can be heard after Thor calls Hulk the "Stupid Avenger"

Spider-Man: Homecoming

SPIDER-MAN: HOMECOMING
2017 | Dir. Jon Watts | 133 Minutes

"Someone's gotta look after the little guys, right?"

Shortly after assisting Tony Stark in Berlin, Peter Parker impatiently anticipates the call for the next Avengers mission, living a double life as a bright high school sophomore and the clumsy street-level costumed hero Spider-Man. One evening, Parker encounters a group of robbers with high-tech alien weaponry supplied by Adrian Toomes, a disgruntled former salvage worker who was forced out of his job after the Battle of New York. Driven by his sense of responsibility as a super-powered crime fighter, Parker refuses to heed Stark's warning to not get involved but quickly learns that Toomes is more dangerous than he could have anticipated.

What's unique about Spider-Man: Homecoming is that it is primarily a high school comedy very much inspired by John Hughes' seminal works such as The Breakfast Club and Ferris Bueller's Day Off. This new silver screen characterization of the classic comic book hero from director Jon Watts and his team of writers is refreshing in that Parker is a highly intelligent good-natured young man who, like many high school students, believes that school has become nothing more than a time-consuming chore he is all too ready to ditch in order to pursue his dream career in the real world. It just so happens that Parker's dream is to become an Avenger and that, for him, the real world beyond high school is the Marvel Cinematic Universe - a world that is overly abundant with lethal super technology and terrifying alien weapons.

Sparing the audience another super hero origin story, the film features a fully-formed but very young Spider-Man who amusingly still has much to learn about being a hero, and about life in general. He doesn't yet know the limits of his powers, afraid of heights, amusingly stumbling about when his web-shooters misfire. Parker narrowly manages to rescue his classmates when they are trapped in an unstable elevator at the Washington Monument, but it is a situation that he caused indirectly by asking his friend to conceal an alien artifact he did not fully understand. The film's most iconic action sequence in actuality highlights Parker's failure as a hero. Parker interrupts a high-tech arms deal but in doing so he blows an FBI sting operation and endangers the lives of numerous passengers on a ferry when a malfunctioning laser gun splits the ship in two. He also has trouble balancing his daily responsibilities, sacrificing his own personal happiness at every turn without hesitation to protect his corner of the world.

Played to perfection in his second outing as Parker following his brief appearance in Captain America: Civil War, Tom Holland's youthful energy, authentic emotional depth, and brilliant comedic timing make it very easy to root for his Spider-Man. Marisa Tomei also returns as Aunt May in a younger, hipper, but just as loving version of the character. Michael Keaton's performance as Adrian Toomes is a real pleasure to watch, truly captivating as an ambitious crook with relatable motivations. A twist late in the picture brings even more depth to the role and Keaton doesn't disappoint, elevating every scene shared with Holland's Peter Parker. Jacob Batalon brings a lot of comedic energy to the role of Ned, Parker's best friend and confidant who becomes his supporting "guy in the chair." As Liz, Parker's crush and captain of their school's academic decathlon team, Laura Harrier unfortunately doesn't have much to do. Conversely, singer and actress Zendaya is a scene-stealer playing the blunt and observant classmate Michelle, dropping hints for a potentially bigger role in forthcoming films. Tony Revolori plays stereotypical bully Flash Thompson though, defying convention, this film's Flash is not an athletic jock but an academic one.

In a purely supporting capacity, Robert Downey Jr. appears as Tony Stark in a handful of scenes, delivering some of the funniest lines. With more screen time than in past MCU films, Jon Favreau returns as Stark's bumbling assistant Happy Hogan, acting as a disinterested liaison between Parker and Stark. Chris Evans makes a brief appearance as Steve Rogers/Captain America in hilarious public-service-announcement-style recordings for Parker's high school. For one of the biggest laughs of the film, a phys. ed. teacher played by comedian Hannibal Buress is quick to dryly mention that Rogers is currently a war criminal (following the events of Civil War).

While the stakes are considerably lower than the average Marvel Studios adventure, Spider-Man: Homecoming is a funny and amusingly earnest take on the high school experience that also truly captures the appeal of one of the most beloved comic book heroes of all time. It's not a groundbreaking film, but Homecoming is the best cinematic take on Spidey in well over a decade. It's a great start for a new series of Spider-Man films, and a good sign for things to come for the Marvel Cinematic Universe.


MID-CREDITS STINGER
In prison, Toomes is confronted by criminal Mac Gargan, asking him if he knows Spider-Man's secret identity. Toomes chooses not to disclose it.


POST-CREDITS STINGER
In another recording for the students, Steve Rogers/Captain America speaks about the value of patience.


STAN LEE CAMEO
Stan the Man appears as a New York apartment tenant named Gary, shouting at Spider-Man from his window.


FRAGMENTS
- Completely foregoing Spider-Man's origin story and decidedly not retreading the death of Parker's Uncle Ben, this is the first Spider-Man film to not feature a scene with Parker sobbing uncontrollably, and definitely the first in which Spider-Man's antagonist doesn't die during the film's climax (in fact, Parker places himself in harm's way to save Toomes from certain death)

- Composer Michael Giacchino references Alan Silvestri's theme for The Avengers during the film's prologue set hours after the Battle of New York and when Peter enters the Avengers compound in upstate New York

- The Marvel Studios logo after the film's prologue was updated to include a shot of Spider-Man from Captain America: Civil War, and it features an orchestral version of the theme tune from the 1967 Spider-Man cartoon arranged by Michael Giacchino

- Pepper Potts, played once again by Gwyneth Paltrow, appears briefly near the end of the film, ready to introduce Spider-Man as an Avenger to the press but instead Stark announces their engagement with a ring that Happy apparently kept in his pocket since 2008

- Comedy actor Martin Starr, who previously appeared in The Incredible Hulk, plays academic decathlon coach Mr. Harrington; possibly reprising his previous MCU role depending on your personal head-canon...

- Previously appearing in Captain America: The First Avenger as Howling Commando Jim Morita, Kenneth Choi plays Principal Morita, the decedant of the war hero; photographs of his grandfather and the Howling Commandos can be seen in Morita's office

- Young actress Angourie Rice plays Betty Brant, a classmate of Parker's in this film and a regular Spider-Man character in Marvel Comics

- Bokeem Woodbine and Logan Marshall-Green play Toomes' underlings Herman Shultz and Jackson Brice respectively, established as different incarnations of the Spider-Man foe Shocker, using a modified version of Crossbones' gauntlet as seen in Captain America: Civil War

- Michael Chernus plays Toomes' "curious" engineer Phineas Mason, a villain known as the Tinkerer in Marvel Comics

- Criminal Aaron Davis, played by comedy actor Donald Glover, in one key scene mentions his cousin; comic book readers may know Davis as the uncle of Miles Morales, another Spider-Man

- Canadian actor Michael Mando, Vic on Orphan Black and Nacho Varga on Better Call Saul, appears as criminal Mac Gargan who sport a tattoo of a scorpion on his neck; Gargan is the alter ego of Spider-Man villain the Scorpion in Marvel Comics

- Kerry Condon returns as the voice of Stark's operating system FRIDAY

- Jennifer Connelly provides the voice of Parker's high-tech hero suit; Parker names the voice "Karen"; incidentally, Connelly played Betty Ross in Ang Lee's (non-MCU) Hulk

Cars 3

CARS 3
2017 | Dir. Brian Fee | 109 Minutes

"Don't fear failure. Be afraid of not having the chance."

Lightning McQueen faces the prospect of retirement when a new high-tech generation dominates the race track. Refusing to give up, McQueen struggles to find a way to keep up with the competition, reluctantly working with aspiring-racer-turned-trainer Cruz Ramierez, and searches for inspiration retracing the roots of his mentor Doc Hudson. With his racing career on the line, McQueen makes a surprising decision at the moment of truth to help his new friend realize her dream.

The third installment of Pixar's Cars series tells a conventional but inspiring story about legacy. Despite increasingly discouraging circumstances, McQueen is determined to control his own destiny, ultimately realizing Ramierez is the perfect racer to carry own his and Doc's legacy. While a far cry from the lauded animation studio's best work, the film is charmingly earnest and weaves a more compelling and poignant narrative than Cars and, without a doubt, Cars 2.

If nothing else, Cars 3 is stunningly animated, each frame of the picture sporting a level of detail that leaves the efforts of most other Hollywood animation studios in the dust. The racing sequences are simply gorgeous. Highlights include McQueen's season-ending crash at the top of the film, Doc Hudson's miraculous flip over a rival featured in a flashback scene, and the same heart-stopping maneuver reused by Ramierez against the smug next generation racer Jackson Storm. The very best sequence of the movie features McQueen and Ramirez fighting to survive in the anything-goes chaos of a demolition derby they unwittingly enter.

Owen Wilson returns as Lightning McQueen without missing a beat, but comedian Cristela Alonzo's positive energy and excellent timing steals the show as Cruz Ramirez. Nathan Fillion piles on the smarm as Sterling, the new owner of Rust-eze. In the role of Jackson Storm, Armie Hammer does a great job as a big irredeemable jerk. Lea DeLaria is absolutely brilliant as the demolition derby's resident monster school bus Miss Fritter. The cast also features veteran character actors Chris Cooper, Isiah Whitlock Jr., and Margo Martindale as Doc Hudson's friends from a past life. Larry the Cable Guy, Bonnie Hunt, Tony Shalhoub, Guido Quaroni, Paul Dooley, Lloyd Sherr, Cheech Marin, and Jenifer Lewis all return as McQueen's extended Radiator Springs family. Through crafty sound editing of previously recorded and unused material, the late screen legend Paul Newman is featured as Doc Hudson in flashback sequences.

Cars 3 is as middle-of-the-road as it gets for Pixar. With a whole lot of heart and the technological brilliance that comes standard with the animation studios' entire body of work, it's not a bad film (certainly better than the Mater-centric nonsensical spy thriller second installment of the series) but it does not live up to the artistic benchmarks set by classics like Toy Story and Inside Out that audiences have come to expect from the de facto pioneers of the medium.


POST CREDITS STINGER
Mater continues to ramble on the video phone long after Lightning had disconnected


JOHN RATZENBERGER AS...
- Mack


A113
- Sterling's office is in Room A113 at the Rust-eze Racing Center


PIXAR INTERCONNECTIVITY
- Though less of a plot point than it was in the first Cars film, Dinoco, the gasoline company first featured in Toy Story, is prominently featured as the coveted sponsor of the Piston Cup

- One of the racers trained by Ramierez pines for his village of Santa Cecilia, the setting of Coco

- An anthropomorphized version of the Pizza Planet delivery truck is a participant in the Thunder Hollow demolition derby


MCU CONNECTIONS
- Nathan Fillion (Kyln Inmate in Guardians of the Galaxy and Master Karja in Guardians of the Galaxy Vol. 3)

- Owen Wilson (Mobius M. Mobius in Ant-Man and the Wasp: Quantumania)

Guardians of the Galaxy Vol. 2

GUARDIANS OF THE GALAXY VOL. 2
2017 | Dir. James Gunn | 136 Minutes

"Sometimes, the thing you've been looking for your whole life, is right there beside you all along. You don't even know it."

Peter Quill and his companions are on the run from an irate society of golden snobs after a mission to protect their valuable resources in exchange for custody of Nebula, Gamora’s spiteful sister, goes awry. They are rescued by Quill’s father Ego, an ancient cosmic lifeform with mysterious motives. Meanwhile, dissatisfied with their captain’s leadership, Yondu Udonta’s gang of Ravagers plot a mutiny.

Just like its predecessor, Guardians of the Galaxy Vol. 2 is a wonderfully off-beat science fiction action comedy with an earnest heart. With character introductions out of the way, this sequel throws Quill, Gamora, Drax, and Rocket straight into new emotionally satisfying journeys.  Quill's relationship with his estranged father takes center stage as Ego is revealed to be the ultimate deadbeat dad. Nebula's raging vendetta against Gamora reaches a surprisingly touching resolution. Drax quickly befriends Ego's empathic companion Mantis, the pair bonding over their respective social awkwardness. While held in captivity by his traitorous gang, Yondu finds a kindred spirit in the prickly Rocket, both damaged outsiders who are reluctant to acknowledge their desire for love and companionship. The Guardians of the Galaxy come to terms with past trauma, transcending petty grudges and personal hang-ups, and become an honest-to-goodness family.

The visuals effects are truly spectacular. Ego's Planet alone is a showcase of strange and imaginative landscapes clearly inspired by trippy 1970's sci-fi aesthetics. The principal CGI characters Rocket and Groot are beautifully rendered. Rocket's guarded vulnerability masked by his boastfulness is subtle but moving and the Baby Groot is absolutely adorable. The action set pieces are thrilling and imaginative with a conclusion that pits our heroes against a fleet of remote-controlled space drone fighters and a colossal planet-sized enemy simultaneously. The catchy pop songs featured in the film, primary sourced from the second mix tape of 1970's hits gifted to Quill from his mother, fit the film perfectly with "Brandy" by Looking Glass featured as a prominent part of the story.

Chris Pratt effortless slips back into the role of Peter Quill, adjusting naturally to heavier dramatic material. Both Zoe Saldana and Karen Gillan benefit from having a good subplot for Gamora and Nebula this time around. Dave Bautista returns as the overly-literal Drax, delivering the funniest lines of the film. Michael Rooker reprises the role of Yondu, excellent in a larger, more emotionally resonant role. Bradley Cooper and Vin Diesel once again provide the voices of Rocket and Groot respectively. Also returning from the first film are Sean Gunn as Yondu's underling Kraglin, Laura Haddock as Meredith Quill in the film's 1980 prologue sequence, and Seth Green as the voice of Howard the Duck.

Veteran actor Kurt Russell is both charming and menacing as the human embodiment of Ego. Pratt and Russell are fun to watch together; the pair shares a particularly cheesy but effective scene playing a father-son game of catch with a ball of celestial energy. The best addition to the cast is newcomer Pom Klementieff as Mantis, a perfect counterpart to Bautista's Drax with impeccable comedic timing. Elizabeth Debicki is a serviceable villain playing Ayesha, High Priestess to the Sovereign people. Chris Sullivan plays the idiotic mutinous Ravager Taserface, essentially the polar opposite of Debicki's Ayesha on the spectrum of villains. Sylvester Stallone appears briefly as high-ranking Ravager Stakar with Michael Rosenbaum as the crystalline Martinex along his side. The film also features cameo appearances by Ving Rhames and Michelle Yeoh as Ravager captains, and David Hasselhoff as himself.

Funnier, weirder, more action-packed, more imaginative, and more visually spectacular, Guardians of the Galaxy Vol. 2 doubles down on nearly every notable quality of its predecessor, borderline-schmaltzy earnestness included. Beneath its veneer of biting one-liners and CGI spectacle, the film preaches a sweet message about the true meaning of family and the importance of recognizing the unconditional love that is present in one's life.


MID-CREDITS STINGERS
- Kraglin experiments with Yondu's fin and arrow and accidentally injures Drax.

- Stakar honors Yondu's memory by reuniting their original team of Ravagers.

- Ayesha reveals to one of her handmaidens that she is creating a new superior Sovereign lifeform to destroy the Guardians of the Galaxy. She names this lifeform "Adam."

- Quill berates a sulking teenage Groot for not cleaning his room and spending too much time playing mindless video games.


STAN LEE CAMEO / POST-CREDITS STINGER
- On a desolate planet, Stan the Man in a space suit speaks with a group of cosmic beings known as the Watchers. During the film, he describes his time as a Federal Express man as he appeared in Captain America: Civil War.

- After the ending credits, the Watchers leave him, seemingly disinterested in his stories.


FRAGMENTS
- The Marvel Studios logo at the start of the film was updated to include footage from Doctor Strange

- The team of Ravagers Stakar reforms during the second end credits stinger is based one of the Guardians of the Galaxy team rosters from the original comic book series that began in 1969

- The Grandmaster (Jeff Goldblum) briefly appears during the credits dancing to "Guardians Inferno" by The Sneepers featuring David Hasselhoff -- The Grandmaster is an antagonist in Thor: Ragnarok


SUPPLEMENTAL STUFF
- Video: The Sneepers featuring David Hasselhoff "Guardians' Inferno"


007 CONNECTIONS
- Michelle Yeoh (Wai Lin in Tomorrow Never Dies)

- Dave Bautista (Mr. Hinx in Spectre)

The Fate of the Furious

THE FATE OF THE FURIOUS
2017 | Dir. F. Gary Gray | 136 Minutes

"Why live a quarter-mile at a time when you can live your whole life that way?"

Cunning cyber-terrorist Cipher blackmails former street racer and heroic outlaw Dominic Toretto, revealing that she has captured his estranged lover and infant son. Dom is forced to turn on his team when DSS Agent Luke Hobbs calls on them to steal an EMP device from a military facility in Berlin. Shaken by Dom’s betrayal, Hobbs and the Toretto Gang are aided once again by Mr. Nobody and a newly recruited Deckard Shaw who holds a personal vendetta against Cipher. With a new member of his family to protect, Dom forges an unexpected alliance to turn the tables on Cipher.

Directed by the talented and versatile F. Gary Gray, the eighth installment of The Fast and the Furious series begins with an over-the-top street race in Havana and culminates with a spectacular logic-defying vehicular battle between motor vehicles and a nuclear submarine, in essence compacting the evolution of the series into just over two entertaining hours. The picture is immensely fun but it doesn't quite top the thrills of its predecessors since Fast Five, its most inspired sequence featuring a deadly legion of driverless cars in swarming the streets of New York City and raining from a multi-story parking garage. The climactic submarine sequence is surprisingly rote, and even exhausting in its predictability. Conversely, the kinetic prison fight/chase/escape sequence featuring Jason Statham's Deckard Shaw and Dwayne Johnson's Hobbs early in the picture did not last nearly long enough, nor does the sequence with Statham’s Shaw taking out Cipher's thugs while simultaneously protecting and entertaining Dom's baby. Complementing the series' signature fantastically-elevated action, the dialogue is as delightfully cheesy as ever, with some great zingers delivered by Statham and Johnson.

Vin Diesel, Michelle Rodriguez, Tyrese Gibson, and Chris 'Ludacris' Bridges comfortably return to their signature roles, their performances consistent with their previous work for better or worse. Nathalie Emmanuel and Kurt Russell return from Furious 7, Russell's Mr. Nobody now joined by a bland and utterly forgettable field agent played by Scott Eastwood. Elsa Pataky also returns in a thankless tragic hostage role. Charlize Theron's Cipher is a captivating villain but disappointingly, her role is relegated to intense Bond-villain-esque speechifying, never participating in the action. The film also features brief cameos from Tego Calderón and Don Omar (last seen in Fast Five), the surprise return of Luke Evans (last seen comatose in Furious 7), and (incredibly) Dame Helen Mirren having the time of her life as the Shaw Matriarch.

The Fate of the Furious is a good time, delivering the action and humor fans of the series have come to expect. However, the emotional sincerity present in the series' best installments, ridiculous as they may be, doesn't seem to ring true in this sequel. Though immensely entertaining, the film is an unfortunate case study in the limits of spectacle for a picture that lacks genuine heart and substance.


FRAGMENTS
- The series' tradition of assigning unconventional titles to its sequels continues; marketing materials abbreviate the wordy title for this eighth installment in the series as F8

- In Japan, the title for this film is Wild Speed: Ice Break


SUPPLEMENTAL STUFF
- Podcast: How Did This Get Made? Episode #161: The Fate of the Furious


MCU CONNECTIONS
- Vin Diesel (Groot in Guardians of the Galaxy, Guardians of the Galaxy Vol. 2, Avengers: Infinity War, Avengers: Endgame, Thor: Love and Thunder, and Guardians of the Galaxy Vol. 3)

- Kurt Russell (Ego in Guardians of the Galaxy Vol. 2)

- Charlize Theron (Clea in Doctor Strange in the Multiverse of Madness)

Moonlight

MOONLIGHT
2016 | Dir. Barry Jenkins | 111 Minutes

"You could be gay, but you don't got to let nobody call you no faggot."

Chiron, a shy African-American child nicknamed "Little" growing up in an impoverished South Miami neighborhood is antagonized by bullies and his emotionally abusive drug addict mother. A local pusher forms a positive bond with Little and quickly becomes a father figure to the boy but he soon realizes his business directly harms Little. As a teenager, Chiron becomes aware that he is sexually attracted to his childhood friend Kevin, but a violent incident involving Kevin drives him to retaliate against a tormentor. Several years later, now going a drug dealer going by the moniker "Black," Chiron reconnects with Kevin.

Written and directed by Barry Jenkins, based on MacArthur Fellow Tarell Alvin McCraney's semi-autobiographical play In Moonlight Black Boys Look Blue, Moonlight is a work of true cinematic art. Jenkins' screenplay elegantly tells a deeply personal story of emotional conflict and personal discovery, chronicling Chiron’s journey into manhood, exploring what it means to be a man without providing a limiting definition. Admirably, Jenkins' direction never crosses over into heavy-handedness, a common pitfall countless great film directors still fail to avoid. Cinematographer James Laxton, and film editors Nat Sanders and Joi McMillon, have done commendable work in creating the three-act story, every frame a striking painting, each expertly timed sequence seamlessly flowing to the next. Also notable are composer Nicholas Britell's moving film score, Jenkins' expert use of diegetic music, and a recurring beach and ocean motif signifying Chiron's contentment.

Three talented actors playing Chiron for each of the narrative's three acts, each delivering their own unique take on the character. Child actor Alex Hibbert portrays Little with a moving quality of youthful innocence. Ashton Sanders is convincing as the teenage Chiron, a confused young man on the cusp of adulthood seething with anger just under the surface. As Black, Trevante Rhodes successfully demonstrates Chiron's transformation to what is virtually the inverse of Sanders' Chiron, a gentle soul encased in a rough abrasive exterior.

Though less dramatically notable than his counterpart, the part of Kevin is also played by three actors for each act of the story with Jaden Piner as Kevin as a child, Jharrel Jerome as teenage Kevin, and André Holland as the adult Kevin. Breaking type for the first time in her film career, the typically affable Naomie Harris is convincingly frightening and heartbreaking as Chiron's drug-addled mother Paula. Though he only appears during the first act of the film, Mahershala Ali leaves a lasting impression as Juan, bringing real pathos to the atypical role of a drug dealer who contains multitudes. Singer Janelle Monáe makes her film acting debut and delivers a likeable natural performance as Juan's attractive and emotionally supportive girlfriend Teresa. The film also features young actor Patrick Decile as archetypal school bully Terrel.

Visually stunning, featuring an extraordinary cast of young and veteran performers, Barry Jenkins' Moonlight is a remarkable motion picture. Though its narrative focuses on the life of one individual without straying far from one specific geographical region, the film's emotional scope is astonishingly grand, exploring numerous facets of personal identity discovered and transformed by time and pressure - both personal and societal.


FRAGMENTS
-  Roughly 80% of the film was shot on location in the real-life poverty-stricken Liberty City neighborhood of Miami, Florida

- Janelle Monáe and Mahershala Ali also appear in Hidden Figures, also nominated for the Academy Award for Best Picture in 2017


007 CONNECTIONS
- Naomie Harris (Moneypenny in Skyfall, Spectre, and No Time To Die)

MCU CONNECTIONS

- Mahershala Ali (Eric Brooks in Blade)

Manchester by the Sea

MANCHESTER BY THE SEA
2016 | Dir. Kenneth Lonergan | 137 Minutes

"I can't beat it."

Lee Chandler, an emotionally withdrawn man working a menial job, travels back to his hometown when his brother suffers a fatal heart attack. Temporarily caring for his nephew Patrick, Lee learns his brother had named him Patrick's legal guardian. Haunted by a tragic past mistake, with no desire to stay in his hometown despite Patrick's insistence, Lee reluctantly faces his demons.

A character study of a damaged man who quietly but adamantly refuses to forgive himself, Kenneth Lonergan's Manchester by the Sea is a deceptively powerful film. Unexpectedly given the legal obligation to look after his recently-orphaned nephew Patrick with several incentives to begin a new life in his hometown, Lee makes it clear that he would consider any living arrangement that would not require him to stay in town - with or without his nephew. Lee can't make small talk, preferring to drift through the rest of his days with minimal human interaction outside of provoking the occasional bar fight. Artfully, Lonergan's narrative alternates between Lee's present, doing a poor job of helping his nephew cope with loss, and his seemingly happier (if dysfunctional) past leading up to the earth-shattering event that cost him his family. The reveal and subsequent fallout are nothing short of operatic.

In a performance exclusively consisting of subtle choices, Casey Affleck is absolutely captivating as the sullen Lee, every movement furtively taken as if poisoned by the winter air surrounding him in every frame of the film. His co-star Lucas Hedges, playing nephew Chandler, perfectly complements Affleck's turn with defiant youthful energy. Though her screen time is limited, Michelle Williams delivers one of the best performances of the film (in a film rich with wonderful performances) playing Lee's heartbroken ex-wife. As Patrick's estranged mother, Gretchen Mol plays the dramatic foil to Affleck's Lee, a recovering alcoholic seeking redemption, trying to recover what remains of her family. Seasoned actor Kyle Chandler is expectedly reliable appearing in flashbacks as Casey's brother Joe. The film also features C.J. Wilson, Kara Hayward, Anna Baryshnikov, and Heather Burns in small but notable supporting roles. Amusingly, Matthew Broderick appears in one scene as Patrick's off-putting religious step-father.

Driven by a nuanced but powerful performance by Casey Affleck, Manchester by the Sea presents its audience with considerably challenging dramatic questions: At what point would one deserve forgiveness for a fatally devastating mistake that resulted in tragic personal loss? Is living with irreparable loss punishment enough? As compelling as it is contemplative, the picture does not offer any easy answers. It is a story of slow, agonizing defeat. Sometimes, one cannot go home again.


FRAGMENTS
- Writer/director Kenneth Lonergan's screenplay for the film was featured on the 2014 Black List (The Black List is an annual survey of the most-liked Hollywood movie scripts not yet produced)

- Lonergan makes a cameo appearance as a pedestrian who makes a sarcastic remark regarding Lee's poor parenting

- Producer Matt Damon was set to direct or star in the film during various points of its development but declined both opportunities due to scheduling conflicts

- Stephen Henderson, who has a small part as Lee's boss, also appears in Fences, also nominated for the Academy Award for Best Picture in 2017

Lion

LION
2016 | Dir. Garth Davis | 118 Minutes

"Do you have any idea what it's like knowing my real brother and mother spend every day of their lives looking for me?"

In 1986, a young boy named Saroo from a remote village in India is separated from his family after falling asleep on a train to Kolkata. After surviving on the streets alone, Saroo finds himself in an orphanage and a benevolent Australian couple adopts him. Twenty years later, Saroo's friends encourage him to search for his native village and birth family using Google Earth. His search puts strain on his interpersonal relationships as feelings of guilt for living an entitled life in relative comfort consume him.

Based on Saroo Brierley's non-fiction memoir A Long Way Home, the first half of Lion, director Garth Davis' feature debut, is a harrowing cinematic journey as poor lost Saroo dodges adults with sinister intentions at seemingly every turn. While still engaging, the second half of the picture isn't nearly as viscerally captivating, much of it focused on Saroo's internal struggle as he searches for a vital missing piece of his personal identity. Instead of focusing on Saroo's research process, the narrative is exclusively centered on the drama between Saroo and his loved ones in Australia as the frustration from his seemingly hopeless quest causes him to alienate them. Though presented in the most saccharine possible, the film's ending in which Saroo is reunited with his Indian family is well-earned after the filmmakers put the audience through the emotional wringer.

As Saroo Brierley, Dev Patel spends most of his screen time during the second half of the film shifting between in anguish and frustration. Though he makes it easy for the audience to empathize with Saroo, it is also difficult to watch and, at times, exhausting. Nicole Kidman and David Wenham play Sue and John Brierley, Saroo's adoptive parents. Kidman does most of the dramatic heavy lifting as a virtually infallible maternal figure. As girlfriend Lucy, Rooney Mara's role mostly serves to pile on extra emotional stakes for Saroo's search and never really becomes a fully realized character. Divian Ladwa plays Saroo's psychologically damaged adoptive brother Mantosh, a dramatic foil to Saroo that is mostly underutilized in the film.

The true star of the picture is 8-year-old Sunny Pawar. Pawar is extraordinary playing young Saroo, demonstrating incredible range for an actor his age, perfectly establishing the formative tragic events that occurred early in Saroo's life. His accidental journey from Khandwa to Kolkata and the series of hardships he suffered there are the strongest sequences of the film thanks in no small part to his performance.

Lion is truly a great film but unfortunately, the sense of immediate urgency captured so perfectly during the first hour of its narrative seemingly slips away in its second half. Based on true events, Saroo Brierley's story is moving and undeniably epic. The picture explores the basic human need to know and understand ones origins, occasionally calling into question but ultimately broadening the definition of family.


FRAGMENTS
- The film ends with a note encouraging viewers to visit the picture's official website (now defunct) for information on how to help protect street children around the world

- Nicole Kidman was handpicked by the real-life Sue Brierley to play her in the film

- Nicole Kidman and David Wenham previously appeared together in Baz Luhrmann's Australia

- Director Garth Davis was a camera operator for the 60 Minutes television special on Saroo's story

La La Land

LA LA LAND
2016 | Dir. Damien Chazelle | 128 Minutes

"Here's to the ones who dream, foolish as they may seem. Here's to the hearts that ache. Here's to the mess we make."

After several chance encounters, aspiring actress Mia and struggling Jazz pianist Sebastian fall in love.  While Mia and Sebastian mutually encourage each other to pursue their respective dreams, their relationship deteriorates when Sebastian sets aside his plan to open a jazz club after he finds steady lucrative work playing with a popular band, while success continues to elude Mia.

From its ambitious one-take opening number on a stretch of Los Angeles highway to the intimate tribute to dreamers performed by Mia before the film's incredible finale, Damien Chazelle's La La Land is a masterpiece consisting of brilliant choreography, boisterous music by Chazelle’s regular collaborator Justin Hurwitz, and profound emotional depth. Uplifting musical numbers aside, the film's central love story plays out in a believable fashion from start to end, perfectly capturing the excitement, which can feel as surreal as a waltz among the stars, and the quiet tragedy of a fleeting romance. The film's epilogue cleverly offers the audience a glimpse at an alternate, more typically Hollywood ending, before pulling back to reality. The picture suggests that big dreams are unattainable without a reasonable amount of compromise.

Emma Stone is sweet, fun, and heartbreaking as Mia, perfect for the part in both the physically demanding song and dance numbers, and the quieter somber moments of the narrative. Building upon his cool guy persona, Ryan Gosling is extraordinarily charming as Sebastian, convincingly passionate whenever Sebastian speaks about jazz and its importance. Together, Stone and Gosling are absolutely magnetic, equal parts adorable, hilarious, and tragically sweet. The film also features acclaimed recording artist John Legend as Sebastian's friend Keith, Rosemarie DeWitt as Sebastian's concerned sister, and character actor J.K. Simmons in a small but amusing turn as a disgruntled restaurant owner.

Technically impressive and an absolute delight, La La Land is a classic-style Hollywood musical behind a starkly modern lens. The film has some poignant things to say about the value of holding onto one's dreams and the reality of accepting compromise. It's one of the rare films that should be a surefire crowd-pleaser for dreamers and cynics alike.


FRAGMENTS
- Written by director Damien Chazelle 2010, film studios were not interested producing La La Land until Chazelle's Whiplash proved to be a success

- Emma Watson and Miles Teller were originally set to play the Mia and Sebastian but scheduling conflicts (Watson) and unsuccessful contract negotiations (Teller) lead Chazelle to recast the roles

MCU CONNECTIONS

- J.K. Simmons (J. Jonah Jameson in Spider-Man: Far From Home and Spider-Man: No Way Home)

Hidden Figures

HIDDEN FIGURES
2016 | Dir. Theodore Melfi | 127 Minutes

"Separate and equal are two different things. Just 'cause it's the way, doesn't make it right."

After Russia successfully launches a satellite into space, NASA Langley Research Center computer Katherine Goble is transferred from the segregated West Area Computers division to the all-white, predominantly male Space Task Group. Despite Goble's extraordinary mathematical talent, her new colleagues discriminate against her in both subtle and blatant ways. Dorothy Vaughan, fulfilling the duties of a supervisor at the West Area Computers division without the appropriate title or compensation, requests to be officially promoted to supervisor but is constantly denied by NASA management as the facility prepares to install a brand new IBM console. Aspiring engineer Mary Jackson goes to court to fight for the right to attend classes at the University of Virginia in order to apply for NASA engineering positions for which she is already more than qualified.

Adapted from Margot Lee Shetterly's non-fiction book Hidden Figures: The Story of the African-American Women Who Helped Win the Space Race, Theodore Melfi's picture is a thorough examination of the prejudice faced by perhaps the most brilliant women who worked for NASA during the Cold War. Hidden Figures is centered mostly on the struggles of Katherine Goble but the feature also weaves the hardship experienced by Dorothy Vaughan and Mary Jackson into its narrative. Heavy-handed in some instances but always captivating, the film covers a broad range of civil rights issues, from the absurdity of maintaining segregated restrooms to the institutionalized denial of opportunities to persons of color. Following an impassioned speech from Goble explaining how she must travel far from her desk to find a restroom she is allowed to use, in an incredibly dramatized but very effective scene, STG director Al Harrison takes a crowbar to a "Colored Ladies Room" sign,  knocking it down and declaring that "Here at NASA, we all pee the same color."

The film features a trio of fantastic performances from Taraji P. Henson, the always excellent Octavia Spencer, and singer-turned-actress Janelle Monáe as Katherine Goble Johnson, Dorothy Vaughan, and Mary Jackson respectively. Henson plays Katherine as a soft-spoken but absolutely brilliant woman whose frustrations are just boiling under the surface. Spencer is a pleasure to watch as Vaughan, delivering some of the best lines of the film whether imparting wisdom onto her children or addressing the passive racism of Kirsten Dunst's passively racist computer group supervisor Vivian Mitchell. Monáe is radiant as the forward-thinking Jackson, a woman who never passes up an opportunity to speak her mind. The film also features the ever-reliable Kevin Costner as STG director Al Harrison, The Big Bang Theory's Jim Parsons as spiteful STG head engineer Paul Stafford, Glen Powell as legendary astronaut John Glenn, Mahershala Ali as Katherine Goble's eventual husband Jim Johnson, and Olek Krupa as Jackson's engineering mentor Karl Zielinski.

A well-crafted film centered on three lesser known heroes of the Civil Rights Movement, NASA, and space flight, Hidden Figures skillfully tells the stories of Katherine Goble Johnson, Dorothy Vaughan, and Mary Jackson. The feature is elevated by an excellent cast and does a fantastic job in promoting the importance of fostering diversity and STEM education among everyone without discrimination.


FRAGMENTS
- Set at NASA in 1961, the film depicts segregated facilities however, segregated facilities were abolished in 1958 when NACA reorganized into NASA

- In reality, Dorothy Vaughan was promoted to supervisor of West Computing in 1949, over a decade before the film's 1961 setting

- Also before the film's 1961 setting, Mary Jackson completed her engineering courses and earned a promotion to engineer in 1958, becoming NASA’s first black female engineer

- The character of Al Harrison was created to simplify the complex management structure of the Space Task Group

- The characters of Vivian Mitchell and Paul Stafford are composites of several NASA staff members

- The character of Karl Zielinski is based on Mary Jackson's real life mentor Kazimierz "Kaz" Czarnecki

- Janelle Monáe and Mahershala Ali also appear in Moonlight, also nominated for the Academy Award for Best Picture in 2017

MCU CONNECTIONS

- Mahershala Ali (Eric Brooks in Blade)

Hell or High Water

HELL OR HIGH WATER
2016 | Dir. David Mackenzie | 102 Minutes

"To watch you pay those bastards with their own money, if that ain't Texan I don’t know what is."

To pay off the reverse mortgage on their late mother's ranch, brothers Toby and Tanner rob branches of the local Texas bank that provided the predatory loan. Toby is desperate but level-headed, carefully planning each robbery and devising a method to launder the money, while Tanner is brash and impulsive. Hot on their trail are Texas Rangers Marcus Hamilton and Alberto Parker, the final case for Hamilton before retirement.

Hell or High Water is a captivating contemporary take on the movie western made more relevant by weaving in the damage to the American housing market and overall economy inflicted by the greed of the banking industry. David Mackenzie's film features a desolate Texan landscape of failing farms and struggling businesses populated with nuanced, well-rounded, and downright eccentric characters. Although they are on the wrong side of the law, the audience is led to sympathize with the brothers on some levels (at least until Tanner's penchant for violence crosses over into outright murder), painting the faceless institutions that failed them as the true villains of the narrative. Perfectly setting the tone, the picture's soundtrack by Nick Cave and Warren Ellis is fittingly Texan and grim.

Chris Pine makes for a solid leading man as the reasonable brother Toby. However, Pine's performance is outshined by Ben Foster's Tanner. Foster completely owns the part of a self-proclaimed Comanche, an enemy to all, even to himself, providing pathos and dimension to a character that could have been played as a straight-forward psychopath. Jeff Bridges effortlessly fits the part of grizzled Texas Ranger Hamilton, casually trading racist jabs with Gil Birmingham's Alberto, the duo exhibiting an amusing and very natural chemistry.

Hell or High Water is an impactful and thrilling Texas crime drama unfolding in the present post-mortgage crisis landscape. In the same vein as films like the Coen Brothers' No Country For Old Men, it's the kind of neo-western in which all that remains of the frontier is a wasteland and the old gunslinger archetypes are a dying breed.

FRAGMENTS

- Chris Pine and Ben Foster previously appeared together in The Finest Hours

- The film's writer Taylor Sheridan makes a cameo appearance as a cowboy

- The screenplay was voted the best Black List script in 2012 (The Black List is an annual survey of the most-liked Hollywood movie scripts not yet produced)

- Though set in Texas, the film was shot in New Mexico

MCU CONNECTIONS
- Jeff Bridges (Obadiah Stane in Iron Man)

- Dale Dickey (Mrs. Davis in Iron Man 3)